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Structures of Epic Poetry Structures of Epic Poetry Volume III: Continuity Structures of Epic Poetry Structures of Epic Poetry Volume III: Continuity Edited by Christiane Reitz and Simone Finkmann ISBN 978-3-11-049200-2 e-ISBN (PDF) 978-3-11-049259-0 e-ISBN (EPUB) 978-3-11-049167-8 Library of Congress Control Number: 2019953831 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston Typesetting: Eric Naujoks (Rostock), Dr. Jörn Kobes (Gutenberg) Cover image: Carrara Marble Quarries, © Wulf Liebau (†), Photograph: Courtesy of Irene Liebau Printing and binding: CPI books GmbH, Leck www.degruyter.com Contents Christiane Reitz and Simone Finkmann The origin, tradition, and reinvention of epic structures – a short introduction | 1 Johannes Haubold Poetic form and narrative theme in early Greek and Akkadian epic | 7 Simon Zuenelli The transformation of the epic genre in Late Antiquity | 25 Berenice Verhelst Greek biblical epic: Nonnus’ Paraphrase and Eudocia’s Homerocentones | 53 Christoph Schubert Between imitation and transformation: the (un)conventional use of epic structures in the Latin biblical poetry of Late Antiquity | 79 Martin Bažil Epic forms and structures in late antique Vergilian centos | 135 Kristoffel Demoen and Berenice Verhelst The tradition of epic poetry in Byzantine literature | 175 Wim Verbaal Medieval epicity and the deconstruction of classical epic | 211 Christian Peters Narrative structures in Neo-Latin epic from 1440 to 1500 | 257 Florian Schaffenrath Narrative structures in Neo-Latin epic: 16th–19th century | 301 Matteo Romanello Experiments in digital publishing: creating a digital compendium | 331 VI | Contents Overview: Graeco-Roman epyllia and epics from Homer to Late Antiquity | 349 Core bibliography | 357 Indices | 389 List of contributors | 417 Christiane Reitz and Simone Finkmann The origin, tradition, and reinvention of epic structures – a short introduction Two questions remain and need to be addressed in the final volume of our compen- dium: Are the structural elements scrutinised in volumes I and II characteristic of classical epic specifically? Or are they consistently used throughout the entire tradition of Graeco-Roman epic from early Greek to Neo-Latin epic? Any conscientious diachronic study of the development of a literary genre, but especially of such a long, dense, complex, and experimental tradition as epic poetry has to start with several caveats. The fact that the design and structural approach of this study as well as the normative structural theories of classical epic that form the basis of our analysis nearly exclusively focus on the epic form is not to be understood as a renunciation of the significance of the poems’ content and language for the epic tradition. As Johannes Haubold convincingly shows in the first contribution of this volume, the dialogue between form and content plays an important part from the very start of the tradition, which is universally accepted to have begun with Homer for the Western tradition in the form of oral poetry. Johannes Haubold is not challenging this view, but he expands the analysis to ancient Mesopotamia, especially Akkadian epic, to explore and gain new insights into the conditions, shared cultural background, and the understanding of the divine and human history that influenced Homer’s composition, and thus the early stages of the epic tradition. Another persistent challenge for diachronic approaches is, of course, that of periodisation. These problems of chronology and direct and indirect borrowing and (inter)dependency of the individual poems only multiply when the analysis is expanded from the structures of classical epic to the entire tradition of Graeco- Roman epic from its beginning to the early 20th century. While we divide the important periods of the structural development of the epic genre into different eras for the purpose of our analysis, we do not postulate that the individual time periods and developmental stages are self-contained units and independent from one another. All contributions in this volume work on the assumption of a fluent, albeit not strictly linear transition, and, more importantly, parallel development of multiple strands of the epic genre. It seems reasonable therefore to exclude the problem of periodisation as well as questions about the transmission of the individual epics from our discussion. https://doi.org/10.1515/9783110492590-064 2 | Christiane Reitz and Simone Finkmann No theoretical model could accurately unify the versatile and ever-evolving architecture of epic poetry, for which the only constant is the shared knowledge of a clearly recognisable set of building blocks between the poet as the builder and creator of a complex epic construction and the recipient (both contemporary and of future generations) as admirer or critic of this epic architecture. It therefore cannot be the aim of this study to develop a comprehensive theoretical model that can truly encompass the complex development and transformation of epic structures throughout the entire tradition. The architecture of an epic poem can be individually modified to fit the desired layout and the specific purpose of theinten- ded construction. It can easily be expanded horizontally and vertically to the point where only individual structures resemble the blueprint of the classical model, but it will always be held together and defined by its core structures, irrespective of the time of its creation, the skillset of its creator, the material from which it is built, the different paint jobs it receives over the years, or the degree of change or de(con)struction it undergoes over the course of time. Similarly, this study will not examine the historical, cultural, and socio- political background of the individual epics under discussion in detail, but presupposes that the authors’ and the readers’ biographies inform the practice of literary composition and reception, and as such have a significant impact on the reception and the transformation of epic structures and the perception of epic poetry as a reflection of the poets’ (and by extension their contemporary readers’) cultural and political values as well as aesthetic and religious views. These important external factors are explicitly addressed in this volume only when they are the main factor for the modification of an established epic structure orfor the creation of a new one. For the purposes of our study, a strict classification system is neither necessary nor beneficial, as it is not relevant whether the different products of epic experi- mentation are subtypes in their own rights. It is more important which structures are studied, copied, varied, enhanced, or omitted, and to what effect. Acknow- ledging the experimental nature and openness of the epic genre to expansion and variation, and the occurrence of many mixed types of epic poetry, as well as a predilection for the shorter form of the epyllion in Late Antiquity, we adopt a broad definition for epic poetry in this compendium. This allows for the inclusion ofa great range of epic designs and subtypes, such as didactic poetry, verse panegyrics, hagiographic poems, animal epics, romance epics, and mock epics, some of which even came to surpass the production of classical historical and mythological epics. This evolving process of composition, literary taste, and perception of the form and content of epic poetry is particularly evident in the Christianisation and rhetorisation of epic poetry in Late Antiquity and the Middle Ages, which gave The origin, tradition, and reinvention of epic structures – a short introduction | 3 rise to the creation of new epic conventions, while leading to the disappearance of other well-established structures. The rhetorisation of epic poetry, under the influence of declamation schools and a more pervasive formal education of the target audience, is perhaps best exemplified by four developments: 1) the stricter application of already existing formal regulations and microstructures, e.g. in the greater precision of parallel- isms between the objects of comparisons in epic similes; 2) the enhancement of (declamatory) speeches and rhetorical devices, esp. ethopoiia, and the embellish- ment of ekphraseis; 3) the authors’ purposeful combination of complex and subtle borrowings from multiple predecessors and literary traditions, which appealed to and challenged a learned reader and created a new style of epic poetry; 4) indi- vidual authors, such as the late antique poet Claudian, showed their versatility by composing different subtypes of epic poetry. Other transformations within this process were the result of general changes in the use of the respective language itself. Nonnus’ stricter regulation of the hexameter, for instance, is the result of the transition of the Greek language to a stress accent. The heroic verse is, however, a good example for the general pervasiveness of the changes an epic poem could undergo throughout this long literary tradition. Once the undisputed stock meter of the epic genre and a symbol for its high style, the hexameter was rivalled, and at times replaced, for instance, by elegiac couplets and even prose in the Middle Ages and Neo-Latin epic. This change is also indicative of the evolution of aesthetic views, which gradually led to a dilution of the grandeur of epic poetry with the incorporation of more ‘undignified’
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